– So there 12 different svaras (notes) – although there are 22 shruti’s (micro-tones) – so, a few svaras (notes) can have several shrutis (eg, Ga has 2), so a Rāga’s mood can be further expressed with using a different shruti (microtone) of a svara (note)

Sa is the root or tonic note. The tambora is the drone instrument which mostly consists of this note. A spiritual metaphor is that sa is the unmanifest (parusha), and the other notes of the raga is the manifest (pakriti), and then we return back to the sa (unmanifest, parusha).

Thaat – mother scales, 10 in all, categorization by musicologist Bhatkande in early 19th century. Each Rāga has a Thaat, although not really accurate 🙂

Characteristics of a Rāga

– not just a scale, a Rāga is a mood that is created by the performer(s)

– contains at least 5 out of the 7 Svaras (notes)

– can have different notes that are played ascending (aroha) and descending (avaroha)

– pakad – catch phrase, can have several

– vadi and samvadi – most important and 2nd most important note in the Rāga

– rasa – mood or sentiment – this is for all indian arts including dance. Classically, there are 9:

Shringaara – This depicts the sentiment of romance, love, and sensuality emotions.

Raudra – Anger, rage, and other violent wrathful emotions.

Hasya – Mirth, joyful, comic, and happy emotions.

Vibhatsaya – Disgust and ludicrous emotions.

Veera – Valour, bravery, heroism, and manliness

Karuna – pathos, sadness, compassion, sympathy.

Bhayanak – Fear, anxiety, and uncertainty.

Adabhuta– Wonder and curiosity, surprise

Shanta – Contemplative, meditative and peaceful emotions

– Two Rāgas can have same svaras (notes), but because of other characteristics, they are different and have different mood and can be completely different

– Ragas are a living creation! A rendering is improvisation and every artists performs in his or her own way. Of course one must follow the characteristics of a raga, otherwise, one is not playing that raga. Because a raga is being created in the present moment, we are brought into the present moment = meditation.

In summary – morning ragas are more inward and for meditation. Afternoon are more relaxing. Evening ragas are more joyous and celebratory (think performances). Very late night and midnight ragas are sorrowful.

– melodic improvisation, The notes of Rāga unveiled one at a time, sets the mood of Rāga. Literal translation is “to converse”

– (This is what I will perform in this presentation.)

– Consists of three parts:

– Alap – totally freeform without any rhythm,

– Jod or Jor (जोर) (slow rhythm),

– Jhala (Fast/Climatic Rhythm)

– Gats (गति)

– Gat mean composition.

– This is roughly 45-60 minutes

– Tabla player joins, and the melodic improvisation extends to rhythmic improv.

– Typically will play 2-3 compositions, one in slow tempo (Vilambit Laya), medium tempo (Madhya Laya), and one in fast tempo (Drut Laya)

– Ends in a climax (Jhala)

– Vocal Music

a little different than instrumental music

– typically does not have alaap, starts with slow tempo gat (except for Drupad style)

– typical performers would be:

– main vocalist

– 2 big tamboras with players

– backup singers (usually the tambora players)

– harmonium (accompanies vocalist, does not play chords)

– tabla for rhythm

– lyrics are typically devotional in nature

Thus, a typical Indian Classical Music performance, one Rāga is played for 1-1.5 hours – so it can definitely leave an impression ! Then, usually a short break, and then a whole other Rāga, or, perhaps for a shorter concert, a smaller piece, called Light Classical or Dhun (folk song)

Resources

– Online radio stations – can go to pandora – either online or iPhone app – can make a station with any of the artists mentioned in the instrument section…

– Also, amazon.com or iTunes store, can look up any of the artists mentioned above